All lots "Furniture sets" Advanced search

Reset all filters
403 results

Sun 26 May

Jean Baptiste II Lelarge (French, 1711-1771) and follower Partie de salon aux Fables de La Fontaine 11 pieces in molded, carved and white lacquered beech. Two armchairs and six chairs with Queen-style backs, later complemented by a sofa and two armchairs. The curved backrest is decorated with shells and acanthus leaves; the recessed armrests have cuffs. The curved legs are decorated with flowers. Stamped "J.B.Lelarge" on the six chairs and two armchairs. Lelarge, master in Paris, January 14, 1738. Tapestry upholstery, wool and silk, Aubusson, 19th century, possibly Braquenié, decorated with child hunters and country scenes on the back and La Fontaine fables on the seats of nine chairs: The hare and the tortoise; The ewe and the fox; The two rats, the fox and the egg; The dog, the rooster and the fox; The horse and the wolf; The deer seeing in the water; The lion, the monkey and the two donkeys; The two pigeons; The fox and the goat. Chairs: Height 91.5 Width 59 Depth 47 cm. Armchairs: Height 95 Width 69 Depth 55 cm. Sofa: Height 96.5 Width 177 Depth 61 cm. (two of the six chairs upholstered in green velvet, traces of gilding, lacquer wear). Provenance: collection of a Lochois château. Jean Baptiste II Lelarge and followers. A set of two carved and lacquered beechwood flat-back armchairs and six chairs as well as a couch and two armchairs (later additions). Nine pieces of furniture upholstered with Aubusson tapestries depicting La Fontaine's Fables on the seats and pastoral scenes on the backs. Son of Jean Baptiste I, Jean Baptiste II Lelarge established himself in 1738 on rue de Cléry, in the house of carpenter Etienne Saint-Georges, who had died two years earlier. His son Jean Baptiste III, who succeeded him in 1775, kept his stamp, making it difficult to attribute the chairs between the late Louis XV and early Louis XVI styles. Louis XV chairs stamped "Lelarge" are traditionally attributed to Jean Baptiste II. He produced models with supple, elegant lines, molded or adorned with good-quality, well-distributed carvings without overloading (in Le mobilier français du XVIIIe siècle, Pierre Kjellberg, les Editions de l'Amateur, Paris, 1989, pp. 499 to 501). The furnishings in this salon, with La Fontaine's Fables and child hunters, are typical of 18th-century French taste, cultivating the art of conversation and quotation. Jean de La Fontaine (1621-1695) drew inspiration from ancient fabulists such as Aesop, Babrius and Phaedra to compose the "Fables" between 1668 and 1694. A picturesque evocation of the animal world and a light-hearted, perceptive transposition of society and its shortcomings, his verses offer an inexhaustible decorative repertoire for artists, which continues to seduce. Fables thus became a "ritual", a game of references and quotations for the enlightened society of the Enlightenment. It was against this backdrop that Jean-Baptiste Oudry (1686-1755), member of the Académie Française and the king's first animal painter, produced a new illustrated version of the Fables, featuring his favorite subject: animals. From 1729 to 1734, he drew 275 compositions in pencil and Indian ink enhanced with gouache. He became director of the Beauvais tapestry factory in 1734, and took up his drawings again, adapting them in the form of cartoons for his weavers. Fifteen years later, Montenault decided to have all the drawings engraved under the supervision of Nicolas Cauchin. The collection was published in 1755, enabling the Aubusson Manufactory to take up the theme and diversify it, in turn creating the marvelous seats of these paragons of French Art de Vivre. The depiction of child hunters is reminiscent of the allegories of child gardeners developed by François Boucher (1703-1770) for the Marquise de Pompadour (Rouillac sale, Château d'Artigny, June 10, 2018, no. 64, now preserved at Château de Sceaux), which would later influence numerous manufactures, including Aubusson. A combination of La Fontaine's fables on the seat and children's allegories on the back can be found on an armchair dated 1765, kept at the Musée des Arts Décoratifs in Bordeaux (inventory no. 11319).

Estim. 3 000 - 5 000 EUR

Sun 26 May

After Jean-Baptiste Claude Sené (French, 1748-1803) Very beautiful marquise modeled after Madame Elisabeth's Salon de Compagnie in Montreuil, circa 1789 in carved and gilded wood. The straight Queen back features a row of oak leaves with acanthus corners, underlined by a row of pearls. The detached baluster armrests are adorned with seed flutes supported by water leaves. The curved front belt also features a row of oak leaves, and is supported by tapered legs with water leaves, fluting and seed ribs. Apocryphal stamp "JB SENE". Upholstered in "knife" tapestry with piping. Quality work of the 19th century. Height 94 Width 63.5 Depth 71 cm. Provenance: former collection of the Marquis de Chabrières, according to the catalog of his sale by Me Martin in Versailles on February 22, 1970, n°188 (reproduced). 19th C., after Jean-Baptiste Claude Sené. Beautiful carved giltwood marquise armchair modeled after Madame Elisabeth's Salon de Compagnie in Montreuil, ca. 1789. From the collections of Marquis de Chabrières. The overall composition of this chair is reminiscent of the two bergères made by Jean-Baptiste Claude Sené for Madame Elisabeth's Salon de Compagnie in Montreuil (Louvre, OA 11164 and 11165). The rich ornamentation of these seats is in keeping with the decor desired by Louis XVI's younger sister. The bergères are part of a suite comprising two sofas, six "tête-à-tête" sofas, four bergères, four "rond en gondolle" armchairs, eighteen chairs, six of which are checkered, four kneeling voyeuses [ ] a columned screen, and a six-leaf folding screen". The order was placed on the eve of the Revolution, on April 1, 1789. The seating set is noted in the 1790 inventory. Our model, made in the taste of this series, is distinguished by its fluted baluster armrests, while the original model features twisted supports and legs. On the other hand, the legs of this marquise are an exact reproduction of the cabriolet chair for the Salon des Jeux du Roi in Compiègne (Louvre, OA 9412). Made in 1790, it was one of the last royal commissions, while "Louis XVI was under house arrest at the Tuileries Palace" (in Bill G.B Pallot, "Le mobilier du Musée du Louvre", Paris, Faton, t.II, 1793, p. 180).

Estim. 2 000 - 4 000 EUR

Mon 27 May

Dressing table with tilting mirror, Royal Workshops of Madrid, c. 1820 Mercury gilt bronze, mahogany and marble top. Thanks to Enric-Eduard Giménez for his help in cataloguing. It presents slight faults and restorations. Measurements: 76 x 134 x 74 cm (table); 82 x 117 x 17 cm (mirror). Dressing table with two sections. The upper one is composed of a tilting oval mirror articulated by a pair of candlesticks with two adjustable arms in its lower third. As ornamentation they have plant motifs on the top, which is reintegrated and lacking restoration, as well as ivy border on the inner perimeter of the frame. The candlesticks combine a fluted truncated pyramidal shaft with scrolls, acanthus, lotus leaves, guilloche or lion heads and claws on the support as monopods. The lower body has a marble top and two drawers on the sides, these with a pin in the lock that slides to fit into a lock, and opens with a spring mechanism under them, missing the one on the right side. This is supported by four legs on H-shaped braced feet, flanked by a pair of cups with handles. The bronzes, especially the vases and candlesticks, are of special finesse, attributable to Thomire, reminiscent of those found in some of the pieces made by the French cabinetmaker Félix Rémond (1779 - 1860) for María Carolina de Borbón-Dos Sicilias, Duchess of Berry, in 1823. The lower body, with H-shaped footings and chamfer, is reminiscent of Jacob-Desmalter's Empire pieces, of great rigidity, while the bronzes can be dated to around 1820. These characteristics lead us to think of a Fernandina piece with French-made bronzes. The arrangement of the lower body is reminiscent of the Thomire table of the Palazzo Pitti, in malachite. Another relationship is that of the dressing table pieces of Queen Isabel de Braganza (currently in the Gallery of the Royal Collections), especially the carving of the legs of the upper third, both armchairs and canapé, made by Mariano Pejón, who had the collaboration of the workers Pedro Salvador, Manuel Ximénez, Fernando Granda and Antonio Domínguez. The carved ornaments of the wood were entrusted to the carver Valentín Urbano, gilded and burnished by Ramón Lletguet, and the gilded bronzes were worked by Celestino Espinosa, as main craftsman, with the collaboration of Pedro Bellas, the chiseler Lesmes Navas, Regino Ruiz and N.Gálvez. Thanks to Enric-Eduard Giménez for his help in the cataloguing.

Estim. 21 000 - 23 000 EUR

Mon 27 May

Jean-Joseph Chapuis (Belgian, 1765-1864) Salon party in cherry wood, composed of six chairs and an armchair. The upside-down backrests are openwork; the entablature, decorated with a ewer in a rhombus adorned with brass fillets, surmounts a palmette. They stand on four legs, the front tapered, the back saber-shaped with a square cross-section. Stamped "Chapuis" on the rear belt. Jean-Joseph Chapuis, master in 1796. Late 18th-early 19th century. Imitation burgundy leather upholstery. Height 87 Width 44 Depth 48 cm. (restorations, including the armrest of the armchair, the uprights of two chairs, a front leg) Provenance: Val de Loire collection. Jean-Joseph Chapuis, late18th C.- early 19th C. A set of six cherrywood chairs and one armchair. Faux leather upholstery. Bibliography : - Denise Ledoux-Lebard, "Les Ebénistes du XIXe siècle", Paris, Les Editions de l'Amateur, Paris, 1984, p. 118-199 ; - Anne-Marie Bonenfant-Feytmans, "Les meubles de l'ébéniste Jean-Joseph Chapuis aux Musées Royaux d'Art et d'Histoire à Bruxelles", in "Bulletin des Musées Royaux d'Art et d'Histoire", fascicule I, T. 57, Brussels, 1986. CHAPUIS' FURNITURE AT THE ROYAL CASTLE OF LAEKEN In 1806, Napoleon I commissioned Chapuis, along with other Belgian cabinetmakers, to draw up an inventory of the furniture at the Château de Laeken, former residence of the Governor General of the Austrian Netherlands. Now owned by the Emperor, he resided there on several occasions until 1812. To furnish his overseas palace, he regularly placed orders with this craftsman, described by Denise Ledoux-Lebard as "a very important Brussels cabinetmaker". The Empire was thus the most flourishing period for his workshop on Rue de Loxum, which employed "twenty or more workers" at the time. Awarded the title of Master in 1796, he was active until 1824. His work, hitherto obscured by an unfortunate confusion with a Parisian merchant of the same name, is gradually being rediscovered. Our suite of chairs, typical of Chapuis' creations, is very similar to a "cherrywood chair" preserved in the Château Royal de Laeken, today the residence of the Belgian royal family: "front legs sheathed, rear legs saber-shaped. Slightly crook-shaped backrest, finished with a grip bar, the openwork center decorated with a vase, the entablature adorned with ebony inlays presenting a vase inscribed in a rhombus". Let's also mention "nine cherrywood chairs, the back featuring an ebony inlaid buire", sold in Brussels on December 18 and 19, 1933 by Galerie Thémis.

Estim. 1 000 - 1 500 EUR

Mon 27 May

In the taste of Jacob Frères and Jacob-Desmalter, late 19th century Sphinges" armchair in mahogany and mahogany veneer with rich ormolu ornamentation. The straight back is decorated at the top with flutes encircled by rushes and a diamond-shaped applique with the head of Apollo. The scrolled armrests, decorated in bas-relief with water leaves, are supported by two large winged sphinx heads. It stands on four legs, the front ones in a sheath ending in claws, the rear ones in a saber. On the reverse, handwritten chalk inscription "Sle 11 = M. Le Rick... Ville d'Avray". Later red velvet trim. Height 96 Width 58 Depth 49 cm. (small accidents, grafted back legs) Provenance: Parisian collection. Inspired by the works of the Jacob family, late 19th C. An ormolu-mounted mahogany and mahogany veneer armchair with sphinxes. Red velvet upholstery (posterior). This armchair, inspired by the "Retour d'Egypte" style, is reminiscent of the Jacobs. The sphinx head is similar to the armrests of a suite of four armchairs purchased in 1806 for Princess Murat's bedroom in Fontainebleau (F2742 in "Egyptomania, cat. exp., Paris, Louvre, 1994, p. 281). The large wings are inspired by a rich model delivered for the Empress's second grand salon at the Tuileries (Versailles in Arizzoli-Clémentel et Samoyault, Le mobilier de Versailles, chefs-d'oeuvre du XIXe siècle, p. 186). This seat is therefore inspired by the many forms brought back from the Egyptian Campaign. The collections by Percier et Fontaine and Vivant-Denon, as well as the publication of the "Description de l'Egypte", contributed to the "Egyptomania" that lasted until 1815 and was revived in the second half of the 19th century.

Estim. 500 - 800 EUR

Tue 28 May

VALENTINO PANCIERA detto BESAREL (bottega di) - (Astragal di Zoldo, 1829 - Venice, 1902) Pair of carved and patinated wooden armchairs, Veneto, second half of the 19th century The frame in the form of foliate shrubs with Moorish servants in the front uprights, putti and fauns in the armrests, upholstered in damask fabric with floral decoration; flaws, some breaks and missing in the friezes, part to be reattached, frame to be consolidated, few traces of woodworm, the fabric replaced H. cm 123, W. cm 93, D. cm 87 A PAIR OF VENETO CARVED AND PATINATED WOOD ARMCHAIRS, BY BESAREL'S WORKSHOP, SECON HALF OF 19TH CENTURY; DEFECTS, SOME LOSSES AND DAMAGES, PART TO BE REATTACHED, STRUCTURE TO BE FIXED, FEW WOODWORM TRACES, FABRIC REPLACED (2) On the subject of decorative arts repurposed in a neo-Baroque key, among the major creators should certainly be mentioned that Valentino Panciera, known as Besarel, who will base his rich production of furniture and sculptural works in the wake of the Brustolonian tradition, throughout the second half of the 19th century. And precisely the model of the small chairs presented here is the one developed by Andrea Brustolon from Belluno (1662 - 1732) for the famous Fornimento Venier, now in Cà Rezzonico in Venice (C. Alberici, Il mobile veneto, Milan 1980, pp. 162-170 and E. Colle, Il mobile Barocco in Italia, Milan 2000, p. 338); it seems evident how the iconography used, with the frontal Moors and the plump putti reclining on the armrests, becomes an almost slavish quotation of the cited originals. What suggests the paternity of ours to Besarel's workshop is a direct comparison with some works attributed to him, such as the examples with moretti now in the Quirinale (AA.VV., Andrea Brustolon, Valentino Panciera Besarel. La scuola di restauro di Sedico interroga i grandi maestri, Belluno 2016, p. 42 ff., figs. 3, 4, 6-8) but even more so with a similarly worked seat, in the collection Poltrone e sgabelli, from the Photographic Album of the Besarel atelier (Venice, Casal-Perretti Archives, op. cit., p. 48, fig. 9, table XVIX). Reference bibliography: M. De Grassi, Valentino Panciera Besarel (1829 - 1902). Storia e arte di una bottega d'intaglio in Veneto, exhibition catalog, Belluno 2002-2003, ad vocem AA.VV., Andrea Brustolon, 1662-1732. Il Michelangelo del legno, exhibition catalog, Belluno, Palazzo Crepadona March 28 ;-12 July 2009, Milan 2009, ad vocem

Estim. 50 - 70 EUR

Tue 28 May

ANDREA BRUSTOLON (ambito di) - (Belluno, 1662 - 1732) Three patinated boxwood carved armchairs, Veneto, early 18th century Frame as rich naturalistic trellis on front feet in the form of crouching lions and back feet on clawed sphere, allegorical putti lodge in uprights, those on armrests with heads of fantastic animals and eagles, covered in damask fabric of later date; defects, some breaks and missing in friezes, frames to be consolidated, fabric replaced, restorations and replacements H. cm 125, W. cm 95, D. cm 87 (3) The specimens offered here are part of a larger series as evidenced by the seats of the same workmanship, but upholstered in different fabric, that furnished the Eagle Room of the Wawel Royal Castle in Kraków from 1927 (National Art Collection). Their elaborate stylistic-iconographical layout, fully summarizes the typical characters dear to the making of Andrea Brustolon (1662 - 1732); they refer unequivocally to the Belluno master's sphere where the plastic rendering of his works, often with truly astonishing results, makes the observer find himself no longer in front of a piece of furniture of use, but rather of a purely sculptural apparatus. For comparison with ours and the Polish ones, just to mention a few works known to scholars, see the famous Finimento Venier of Cà Rezzonico in Venice (C. Alberici, Il mobile veneto, Milan 1980, pp. 162-170 and E. Colle, Il mobile Barocco in Italia, Milan 2000, p. 338) and, again for the same rooms, the large vase holders of different series with putti, Moors servants and mythological characters; and again, among other seats, the twelve Pisani high chairs with the signs of the Zodiac should be mentioned (A. González-Palacios, I mobili italiani. Il patrimonio artistico del Quirinale, Milan 1996, pp. 252-269, no. 95), a recognized example of absolute virtuosity already among the greatest masterpieces of the decorative arts in Italy and beyond. But for an extensive and exhaustive analysis, see also in, Andrea Brustolon, 1662-1732. Il Michelangelo del legno (AA.VV., exhibition catalog, Belluno, Palazzo Crepadona March 28 ; July 12, 2009, Milan 2009, ad vocem).

Estim. 50 - 70 EUR

Wed 29 May

GEORGE NAKASHIMA (1905-1990) Set comprising a Double Pedestal desk and a Conoid chair The desk made in 1968; the chair in 1974 Original owners' names inscribed by hand American walnut The desk: H: 73.5cm (29in.); W: 153cm. (60.1/4in.); D: 79,5cm. (31.1/4in.) Chair: H: 90cm. (35.1/2in.); W: 53cm. (20.7/8in.); D: 57cm. (22.1/2in.) A set comprising a 'Double pedestal' desk and a 'Conoid' chair in American walnut by George Nakashima respectively in 1968 and 1974. Footnotes: A certificate of authenticity from Mira Nakashima and a copy of the original invoices will be given to the purchaser of this lot. Together with a certificate of authenticity from Mira Nakashima and a copy of the original order cards. Provenance: Cornette de Saint Cyr, Brussels, December 3, 2017, lot 71 Acquired from the latter by the current owner Bibliography: G. Nakashima, The soul of a tree. A woodworker's Reflections, Ed. Kodansha International, Tokyo, 1981, for the chair p. 32, 38, 108, 143, 149, 152, 153, 167, 169, 177, 183, 184, 186-187, 190-191 M. Nakashima, Nature Form & Spirit. The life and legacy of George Nakashima, Ed. Harry N. Abrams, New York, 2003, for the desk p. 100; for the chair p. 173, 174, 175, 215, 216, 223, 226, 227 This lot is subject to the following lot symbols: AR W AR Goods subject to Artists Resale Right Additional Premium. W Lot is located in the Bonhams Warehouse and will only be available for collection from this location. For further information on this lot please visit Bonhams.com

Estim. 20 000 - 30 000 EUR

Wed 29 May

LOUIS MAJORELLE (1859-1926) Living room with sofa, two armchairs and two fern chairs Circa 1906 Walnut gilded with gold leaf and fabric The sofa: H: 109,5cm; (43.1/8in.); W: 140cm. (55.1/8in.); D: 75cm. (29.1/2in.) Each armchair: H: 105,5cm (41.1/2in.); W: 71cm (28in.); D: 77,5cm (30.1/2in.) Each chair: H: 100,6cm. (39.5/8in.); W: 49cm. (19.1/4in.); D: 77,5cm. (30.1/2in.) A 'aux fougères' salon suite, comprising a sofa, two armchairs and two chairs in walnut gilded with gold leaf and fabric by Louis Majorelle circa 1906. Footnotes: Provenance: Private collection, France Historical background: The model exhibited at the Salon de la Société des Artsites Décorateurs, Paris, 1906. A copy of this armchair is in the collections of the Musées Royaux des Beaux-Arts de Belgique, Brussels (inv. GC 154 to 154/D). Bibliography: Majorelle-Nancy, Décorations d'intérieurs, Meubles-Tentures-Bronze-Ferroneries, Nancy, circa 1900-1914, n. p. E. Manonni, Meubles et ensembles style 1900, Ed. Charles Massin, Paris, 1968, p. 61 O. Selvafolta, Le Mobilier Art Nouveau, Ed. Larousse, Paris, 1985, p. 45 R. Bouvier, Majorelle. Une aventure moderne, Ed; Serpenoise, Metz, 1991, p. 61, n. 56 A. Duncan, Louis Majorelle, Master of Art Nouveau Design, Ed. Thames and Hudson Ltd, London, 1991, p. 106, 173 Majorelle. Un art de vivre moderne, exhibition catalog, Galerie Poirel, Nancy, May 2-August 30, 2009, p. 182, n. 32 This lot is subject to the following lot symbols: W W Lot is located in the Bonhams Warehouse and will only be available for collection from this location. For further information on this lot please visit Bonhams.com

Estim. 12 000 - 18 000 EUR
Security
Online payments are secured by Ingenico and encrypted transactions.
Guarantees
Each lot has been authenticated and appraised by an Auction House.
Support
Consult our FAQ or contact us
Composed of several subsidiaries, the Drouot Group is a major player in the art market. Hôtel Drouot, located in the heart of Paris, has been the world's largest public auction center since 1852. 15 salerooms are available to more than 70 auction houses. The emulation generated by an annual offer of 230,000 artworks from 21 major specialities - from Antiquity to street art - attracts some 3,000 visitors every day. The Group's digital platform, Drouot.com, offers digital sales - Live auctions (live broadcasting and participation in auctions), Online-only auctions (dematerialised auctions) and Buy Now sales (sales of lots at fixed prices). Nearly 2 million items are offered annually by 600 auction houses. Auction news is reported every week in La Gazette Drouot, the leading weekly magazine for the art market and culture published by Auctionspress.
More about Drouot
Drouot certified auction houses
To buy
How to buy on Drouot.com
How to buy at the Hôtel Drouot
Glossary
Useful links
To sell
Value your property
Auctions at the Hôtel Drouot
Subscribe
SERVICES FOR PROFESSIONALS
Auctioneers
Contacts
HÔTEL DROUOT
9, rue Drouot 75009 Paris, France
+33 (0)1 48 00 20 00
[email protected]

DROUOT.com
[email protected]
Press Center
Private events
CGU and legal notice - Privacy Statement - Copyright © Drouot.com